Rolling out across Adelaide in October, Tarnanthi, an annual platform for contemporary Aboriginal and Torres Strait Islander Art, features an art fair, exhibition and festival this year.
Post-humanism anticipates a future in which bodies are enhanced, replaced or surpassed, and in which the status of ‘person’ isn’t defined by species or carbon-based physicality.
Sydney-based artist Merran Esson has won the $20,000 acquisitive award in the Woollahra Small Sculpture Prize 2019. Her ceramic work Autumn on the Monaro will become part of the permanent collection at Woollahra Council.
In the third article in an Art Guide Australia series on textiles, Rebecca Shanahan notes the influence of textile techniques on both other mediums and broader culture by delving into the group show Exploded Textiles at Tamworth Regional Gallery.
On winning Katrin Koenning said, “If one of the roles of the artist is to engage critically with the times in which they live, winning the Bowness enables me to continue doing so. I could not be more thankful, or more proud.”
In the second article from an Art Guide Australia series on the use of textile techniques in contemporary art, Rebecca Shanahan looks at two exhibitions featuring Indigenous artists.
Tricky Walsh’s exhibition Flatland, at Devonport Regional Gallery, is a scientifically and philosophically rigorous engagement with questions regarding reality, perception and dimensionality.
Unidentified fossils discovered in the Flinders Ranges form the basis of an exhibition by Berlin-based artist, Mariana Castillo Deball.
Despite being a multidisciplinary artist, Griggs is primarily known for his vivid and chaotic portraits.
This is not an exhibition to digest quickly or casually…
Western Australian artist Jack Caddy’s Made from pillars of spit launches a tragi-comedic critique of what happens when saliva becomes transferable digital information. “How do we navigate this new field where it only takes your third cousin spitting in a tube for someone to identify you?”
The first Australian show from Lawrence Abu Hamdan, the Beirut-based, British-Lebanese sound artist and self-described ‘audio investigator’, is a complex, politicised interrogation of the possibilities and mysteries of sonic experience.
The growing cultural interest in art books reflects the enduring power of the printed word. Jane O’Sullivan takes a closer look.
Radical Textiles, A new exhibition at the Art Gallery of South Australia, shows us how textiles evoke material memories while keeping the radical lineage of needle and thread alive.
In a new collaborative exhibition at PS Art Space, in partnership with Cool Change Contemporary, five artists with process-lead practices contemplate material ethics through actively engaging in slowness and reuse.
A new event has arrived in Melbourne’s cultural calendar with the inauguration of the Melbourne Sculpture Biennale: an exhibition that aims to showcase the breadth and diversity of contemporary sculpture in Victoria.
Emma Phillips has a knack for catching moments of unbridled humanity. In her latest exhibition at ReadingRoom, she shines a light on the breadth of her practice, amalgamating several projects from the last decade.
Natalya Hughes has a conflicted fascination with modernist men like Freud, Kirchner and de Kooning. Jane O’Sullivan takes a look at The Interior, the Institute of Modern Art monograph on her recent practice, and discovers difficult and provocative questions about not just the representation of women in art and culture, but also the careers of women artists in Australia.
